#Thomas Christian David

[24601orwhatever]

WE LOVE TO SEE IT WE LOVE TO SEE IT

[creepynostalgy]

Natja Brunckhorst in Christiane F. - Wir Kinder Vom Bahnhof Zoo (1981)

[courseyoulovemeyoudontknowme]

Batman Begins (2005, Christopher Nolan)

05/11/2024

[foreverpraying]

Christ Pantocrator by DeepGreen on https://x.com

"Day of wrath and doom impending,

David’s word with Sibyl’s blending!

Heaven and earth in ashes ending!

O what fear man’s bosom rendeth

When from heaven the Judge descendeth,

On whose sentence all dependeth!

Wondrous sound the trumpet flingeth,

Through earth’s sepulchers it ringeth,

All before the throne it bringeth.

Death is struck, and nature quaking,

All creation is awaking,

To its judge an answer making.

Lo! the book exactly worded,

Wherein all hath been recorded;

Thence shall judgment be awarded.

When the Judge His seat attaineth,

And each hidden deed arraigneth,

Nothing unavenged remaineth.

What shall I, frail man, be pleading?

Who for me be interceding,

When the just are mercy needing?

King of majesty tremendous,

Who dost free salvation send us,

Fount of pity, then befriend us!

Think, kind Jesu, my salvation

Caused Thy wondrous Incarnation;

Leave me not to reprobation.

Faint and weary Thou hast sought me,

On the Cross of suffering bought me;

Shall such grace be vainly brought me?

Righteous Judge! for sin’s pollution

Grant Thy gift of absolution,

Ere that day of retribution.

Guilty, now I pour my moaning,

All my shame with anguish owning;

Spare, O God, Thy suppliant groaning!

Through the sinful woman shriven,

Through the dying thief forgiven,

Thou to me a hope hast given.

Worthless are my prayers and sighing,

Yet, good Lord, in grace complying,

Rescue me from fires undying.

With Thy favored sheep O place me,

Nor among the goats abase me,

But to Thy right hand upraise me.

While the wicked are confounded,

Doomed to flames of woe unbounded,

Call me with Thy Saints surrounded.

Low I kneel, with heart submission,

Crushed to ashes in contrition;

Help me in my last condition!

Ah! that day of tears and morning!

From the dust of earth returning,

Man for judgment must prepare him;

Spare, O God, in mercy spare him!

Lord all-pitying, Jesu Blest,

Grant them Thine eternal rest. Amen."

Dies Irae by Thomas of Celano

[denimbex1986]

'Cillian Murphy had just spent the day filming what felt like 30 scenes on “Oppenheimer” with the desert sand kicking up and blasting into his eyes when his co-star Robert Downey Jr. greeted him, trying to boost his spirits. And — this is how Downey remembers it, and when the legend becomes fact, print the legend — Murphy launched into a lament about how, when he had returned to his “18-dollar-a-night hotel room” the previous evening, he found his bags in the hallway and thought, “F—! I haven’t checked out yet. I have to sleep!”

“Every indignity that could befall someone who’s trying to do something .... It was like the tears of Job,” Downey related after a recent screening of the Christopher Nolan blockbuster. “Forget the call sheet and the job. It was everything else. It was the most Irish experience I’ve ever witnessed.”

Nearly two years later, Murphy and I are talking on a late-autumn day in L.A. He’s removing his coat and pulling his chair into the sun because, yes, he’s Irish, and part of the Irish experience is to soak up as much sun as possible when the opportunity presents itself. As to what Downey is ascribing to his native land, Murphy can do nothing but laugh.

“I don’t know if that means that Irish people are more predisposed to suffering,” Murphy says, smiling. “I think he’s being very sweet and saying we were like a troupe, moving at quite a pace. We were just staying at motels by the freeway and moving around. It was not glamorous. The way Chris works is that everything is equitable. No one has trailers or personal makeup. Everyone gets in a bus. It feels like independent filmmaking, but on a f—ing grand scale. And that’s the way I enjoy working.”

Murphy, 47, also enjoys not working, and he’s had a successful enough career in the two decades since his film breakthrough in Danny Boyle’s 2002 classic zombie film “28 Days Later” that he can describe such periods as being “happily unemployed.” That was where he was at a couple of years ago. He’d finished shooting the sixth (and final) season of the entertaining BBC crime drama “Peaky Blinders” and was in the midst of a glorious six months enjoying the company of his wife, Irish visual artist Yvonne McGuinness, and their two teenage sons. Then Nolan called out of the blue.

Actually, it wasn’t Nolan, but his wife and producing partner, Emma Thomas. It couldn’t be Nolan, because Nolan doesn’t have a phone, an eccentricity that’s either endearing or infuriating depending on the context. Thomas handed the phone to her husband, who told Murphy — in what the actor calls an “unbelievably understated British way” — “I’m making a film about Oppenheimer.” Pause. “I’d like you to play Oppenheimer.”

And just like that, Murphy was no longer happily unemployed. He was playing the title character in Nolan’s sprawling drama about the physicist known as the “father of the atomic bomb.”

“A big moment,” Murphy calls it, no stranger to restraint himself. Pause. “A biggie.”

In conversation, Murphy is pleasant and reflective when talking about his native country (he could and should write a book on the Ring of Kerry or at least narrate a self-guided tour) and the arts. I’d read that Nolan sent him photos of David Bowie wearing high-waisted, voluminous trousers from the singer’s Thin White Duke era as a visual reference for the gaunt silhouette he imagined for Oppenheimer, a man who possessed such a manic work ethic that he forgot to eat, subsisting on martinis and Chesterfield cigarettes. I pull up a photo of Bowie taken shortly before his death, wearing a sharp suit, black fedora and beaming smile.

“He looks a little alien, which is what we were going for with Oppenheimer, I think,” Murphy says. He holds onto my phone, looking at Bowie. “One of the greats. That last album [“Blackstar”] was f—ing extraordinary. What a gift to leave us with. Nobody else could have gone out like that.”

Murphy’s most striking feature — his piercing blue eyes — have been noted at length, for good reason. “Oppenheimer” co-star Matt Damon notes how he’d find himself distracted working with Murphy. “It’s a real problem when you’re doing scene work with Cillian [because] sometimes you find yourself just swimming in his eyes,” he told People.

Those eyes are what first attracted Nolan to him. The filmmaker was leafing through a newspaper while writing “Batman Begins” and came across a photo of Murphy from “28 Days Later.” He couldn’t shake the image of this actor with a shaved head and “crazy eyes” and made a note to meet with Murphy for Batman, a role that eventually went to Christian Bale.

They’ve now made six movies together, with Murphy playing the menacing Scarecrow in the “Dark Knight” trilogy, a petulant business heir in “Inception” and a character known simply — and quite accurately — as “Shivering Soldier” in “Dunkirk.” They share a mutual interest in conveying a character’s emotional conflict through close-ups that linger on an actor’s face and allow the audience to feel inner turmoil. In Oppenheimer’s case, it was the searing anguish of a man a bit late to realize and appreciate the consequences of what he’d created.

“To me, great screen acting is all about ‘show, don’t tell,’” Murphy says, “and being able to transmit emotion and energy just by force or presence or charisma.”

I ask him about influences in that regard, but Murphy demurs, saying that if he starts listing actors, he’ll wake up in the middle of the night, thinking, “F—, I left that person out.” He reiterates that his favorite movie moments aren’t big set pieces but watching actors in reflection, inactive, doing nothing, but revealing everything. “I find that compelling in the highest order,” he says.

Murphy had ample opportunity to do just that in “Oppenheimer,” portraying a character caught in a moral dilemma of his own making.

“I knew it would have to be a quiet, small performance, because the themes are f—ing huge,” Murphy says. “What’s happening inside his heart and his mind can’t be painted big, particularly when it’s captured on an Imax camera and it’s going to be shown on a f—ing 80-foot screen. I knew it would have to be delicate and tiny, most of it.”

Murphy doesn’t like to dwell on what he did once call the “monastic experience” of the film’s 57-day shoot or on the months it took to decompress afterward. Such talk would be a little too close to the “Irish experience” Downey had mentioned. But all of these efforts did make me think about something that Emily Blunt, who plays Oppenheimer’s wife, Kitty, in the film and worked with Murphy in “A Quiet Place Part II,” noted about him.

“She said that off set, you’re a hoot,” I tell him, fishing for an example or two. Murphy does not oblige, but he does express how his friendship with Blunt created a trust that informed their portrayal of lifelong partners.

“She’s also one of the funniest people, and I have a rule that I can’t work unless there’s a lightness around the set,” Murphy says. “There has to be some levity. A lot of the films I do are quite heavy and go to some dark, challenging places, and you have to be relaxed to do that. So I don’t walk around in a state of f—ing angst. I need to feel at ease. I can’t be in that dark place all the time. I don’t have the stamina for it.”

Murphy saw “Oppenheimer” at the film’s July world premiere in Paris. Two days later, he and the rest of the cast left the London premiere to show their support for the impending SAG-AFTRA strike. By the time he returned home to Dublin, his wife and sons had already seen “Barbie,” so Murphy went to the cinema by himself to complete the “Barbenheimer” experience.

How do you go incognito to the multiplex, I ask.

“I time going to movies very well now,” Murphy says. “With the ads and trailers, I always arrive a half hour late, slip in and then slip out.”

I grouse how that half hour feels like it’s getting longer by the year. Murphy agrees. And yet ...

“The greatest democratic collective art form is sitting in a darkened space with strangers,” he says. “To be part of a movie that people went to see multiple times and part of a great moment for cinema, that frenzy for those two films, was just lovely. I don’t know if we’ll ever see it again, but I’d like to hope so.”

[rock--band]

Black Veil Brides, American rock band based in Hollywood, California. The group formed in 2006 in Cincinnati, Ohio, and is currently composed of lead vocalist Andy Biersack, rhythm guitarist and violinist Jinxx, lead guitarist Jake Pitts, drummer Christian "CC" Coma and bassist Lonny Eagleton.

100+ Rock Band Posters and Canvas Prints

Print Option: ♦ Framed Poster Print ♦ Canvas Print ♦ Metal Print ♦ Acrylic Print ♦ Wood Prints 🌐 Worldwide shipping

[badmovieihave]

Bad movie I have Phantom Love 2000

[11ersfilmkritiken]

Valkyrie [2008] oder der Versuch einer Kehrtwende

Continue reading Valkyrie [2008] oder der Versuch einer Kehrtwende

[24601orwhatever]

HI BEAUTIFUL BEAUTIFUL PEOPLE

[museu-degrandes-novidades]

christiane f. (1981)

[courseyoulovemeyoudontknowme]

Batman Begins (2005, Christopher Nolan)

23/11/2024

[mitjalovse]

Sting had a comeback and everything went quite smoothly from then on? This is Sting we are talking about as he complicated things again. While he could've solidified his comeback with a Disney movie, the latter's troubles derailed this path, though he seemed to be doing fine despite that. Sacred Love basically finds him accepting all his peculiarities of himself, but a lack of editor was noticeable again. You see, Sting has to be challenged in a way to make his work better, which might be one of the reason we continue to listen to The Police, i.e. the contrasting personalities there somehow brought the best of each other. Sacred Love didn't have anyone to be willing to step up to and that results in a polished affair, which does sound great, yet where are the surprises?

[wildbeimwild]

Volksverblödung im Kanton Aargau

[forward-in-joy]

but you don’t understand, i have found love

I know I emerged from the fire

but what is flame to me when

children can be made from stones and ashes?

I’m not one for the rush of the waterfall

and all that gasping for breath.

I’m not one for the rapids

where you tumble through rings, veils, sheets

bury yourself in that secret quiet place

and rouse to birthing suckling twins.

what is darkness to me when I am of light?

but I am one to trust—fall—leap into cold waters

shouting, It is the Lord!

throwing off fear like a garment

flying toward this bonfire

dancing undignified

without virgin sacrifice.

I am one to press the holes in his hands

say alongside him, hey, baptize me

on my own terms

for we both know embodiment of spirits like ours

call for nothing less

than wilderness.

-- Ellen Huang

[contemplatingoutlander]

Johnson has said that [David] Barton’s ideas and teachings have been extremely influential on him, and that is essentially rooting him in this longer tradition of Christian nationalism. Christian nationalism essentially posits the idea that America is founded on God’s laws, and that the Constitution is a reflection of God’s laws. Therefore, any interpretation of the Constitution must align with Christian nationalists’ understanding of God’s laws. Freedom for them means freedom to obey God’s law, not freedom to do what you want. So really, Christian supremacy and a particular type of conservative Christianity is at the heart of Johnson’s understanding of the Constitution and an understanding of our government. You’ll see this in some of his speeches. In his speech on Wednesday, he incorporated a G.K. Chesterton quote about the U.S. being based on a creed. And he said the American creed is “We hold these truths to be self-evident that all men are created equal.” But he goes much deeper than that, and really roots that in what he would call a biblical worldview: The core principles of our nation reflect these biblical truths and biblical principles. He has gone on record saying things like, for him, this biblical worldview means that all authority comes from God and that there are distinct realms of God-ordained authority, and that is the family, the church and the government. Now, all this authority, of course, is under this broader understanding of God-given authority. So it’s not the right of any parents to decide what’s best for their kids; it’s the right of parents to decide what’s best for their kids in alignment with his understanding of biblical law. Same thing with the church’s role: It is to spread Christianity but also to care for the poor. That’s not the government’s job. And then the government’s job is to support this understanding of authority and to align the country with God’s laws.

What Mike Johnson and other right-wing "Christian" nationalists believe about our founders and Christianity is beyond wrong because it is based on David Barton's false American history writings and videos. Founders such as Thomas Jefferson, must be turning in their graves.

On Wednesday, when newly elected House Speaker Mike Johnson gave his first speech in that role, he quoted British statesman and philosopher GK Chesterton, who once said, “America is the only nation in the world that is founded upon a creed,” and that it is “listed with almost theological lucidity in the Declaration of Independence.”

“That is the creed that has animated our nation since its founding and has made us the great nation that we are,” Johnson said.

[terrapia]

Farewell, Arcane

Thank you Fortiche.

Thank you Christian Linke. Thank you Alex Yee. Thank you Amanda Overton. Thank you Riot Games. Thank you Pascal Charrue. Thank you Arnaud Delord. Thank you Bart Maunoury. Thank you Marc Merrill. Thank you Brandon Beck. Thank you Jane Chung. Thank you David Dunne. Thank you Thomas Vu. Thank you Hailee Steinfeld. Thank you Ella Purnell. Thank you Kevin Alejandro. Thank you Katie Leung. Thank you Jason Spisak. Thank you Toks Olagundoye. Thank you Harry Lloyd. Thank you JB Blanc. Thank you Reed Shannon. Thank you Mick Wingert. Thank you Amirah Vann. Thank you Ellen Thomas. Thank you Brett Tucker. Thank you Ash Brannon. Thank you Nick Luddington. Thank you Graham McNeill. Thank you Henry Jones. Thank you Kristina Felske. Thank you Giovanna Sarquis.

Thank you - artists, music composers.

Thank you for creating something that has changed lives forever.

Thank you for bringing together an amazing community of people.

THANK YOU.